Katie G. Nelson joins us on this episode of Inside The Photographer’s Mind. She’s a multimedia journalist with a background in photography, filmmaking, and investigative writing. Returning to Minneapolis, Nelson kindly agreed to sit down with us and talk about her experience in journalism, including the good, the bad, and the traumatic. She’s a great source for a behind scene view of what life is like making content in the most difficult circumstances. Here’s what to expect.Continue reading…
All images from John Kurdewan’s Instagram. Used with permission.
Bill Cunningham is one of the most iconic figures in our industry. A fashion photographer for the New York Times, he was best known for taking candid images of America’s best-dressed people. As with most successful photographers, there’s always a team behind them. John Kurdewan was both Bill’s close friend and production assistant at the New York Times. For Bill’s famous feature ‘On The Street’, John was right there beside him helping to put it all together. Their friendship and professional relationship lasted for over 20 years, until Bill’s passing in 2016. “We never had a single argument,” says John.
So what was life like working so close to one of the greatest photographers of a generation?
Image by Paul Stein on Flickr.
Today is a very sad day in the photography world as the NYTimes confirmed that photographer Bill Cunningham passed away at 87. Mr. Cunningham was a famous fashion photographer and in many ways the original true street fashion photographer. He was well known for the fact that he went against what many other photographers did for years and instead of shooting all the craziness on red carpets all the time, he went around NYC with his bike and every day photographed people who just happened to look very fashionable. For 40 years, Bill Cunningham worked for the NYTimes.
A few days ago, he suffered from a stroke, and many on the internet were praying that he would make a swift recovery. Mr. Cunningham is also the focus of a special documentary called Bill Cunningham New York; where we’re shown what his every day life was like.
All images are copyrighted and used with permission by Andrew Renneisen.
Photojournalism is one of the most dynamic professions there is, both creatively and physically. Things can change at a moment’s notice, and you can’t let yourself fall behind. Awareness and an ability to react quickly are crucial to success, and these are qualities that American photojournalist Andrew Renneisen has in spades. He’s a young guy and despite being early in his career, he’s already been published by The New York Times, Los Angeles Times, Rolling Stone and TIME, among others. He’s covered some of the most emotionally heavy stories in recent memory, from the unrest in Ferguson to Eric Garner’s funeral. Here, he shares some of his insights.
Not long ago, the New York Times published an article about how the creative boom in New York and going west to LA. While that may be true, Adobe found that the heart of photography is very much still Brooklyn, NY. While NYC and LA are both known as hubs for creativity, Brooklyn and Long Beach are both bigger hubs of creativity than their respective cities. NYC in this case refers to Manhattan. Adobe revealed this information today in a post from their digital index showing that while Long Beach, CA is home to web design, industrial design and print design, Brooklyn is home of art direction, fine art and photography.
When you take a photo, do you remember the moments as they were happening at all? According to a study called “Point-and-Shoot Memories: The Influence of Taking Photos on Memory for a Museum Tour” done by Fairfield University, the answer is no. The study shows that taking images actually causes what the New York Times cites as “photo-taking-impairment effect.”
According to the study, groups were given digital cameras when taking a tour around an art museum, they were instructed to take photos of certain objects and observe others without taking photos. The study concluded that taking photos impaired their memory of the objects because their mind was too busy taking a photo–however their memory wasn’t affected if they were told to zoom in on a specific area.
Further conclusions stated that memories were totally intact if they didn’t take photos of the object.
Though this is only one study, it makes a lot of sense considering that our society is spending so much time taking photo after photo and many times doesn’t get the shot right to begin with.
On a personal level though, we can relate. We test lots of cameras here and sometimes have cameras with us at events that we go to. When you’re too busy taking photos, you tend to only concentrate on getting the shot as best as you can. Otherwise, everything else gets filtered out.
The iPhone 6 and iPhone 6 Plus quite possibly have the best smartphone cameras around. While Apple’s latest handsets have proven to be amazing on paper, how does it handle in the hands of a seasoned professional photographer? The New York Times’ Molly Wood challenged NYT photojournalist and Pulitzer Prize winner Todd Heisler to put the camera through its paces and create stunning images.
In his testing Todd praised the iPhone 6 for its new ability to shoot slow motion even in lowlight conditions, whereas high-speed cameras typically need a well-lit environment. More importantly Todd said shooting slow motion video changes the way you see everything and adds a beautiful sentimental quality to the footage.
The Pulitzer Prize winning photographer also enjoyed the easy access exposure control on the iPhone 6 letting him nail the lighting he wanted. Meanwhile, the updated editing capabilities on iOS 8 allowed him to tweak his image without using a third-party application.
Of course, the iPhone 6 camera isn’t without its flaws. Namely the timelapse tool is neat, but it requires patience and steady hands. Todd was also interested in picking up the iPhone 6 Plus for the added image stabilized lens, but was ultimately put off by the handset’s additional bulk. The video is after the jump.
All images by Lou Manna. Used with permission
Pasta provides an ideal canvas for food photography. That’s what Lou Manna, a veteran food photographer, told me over Skype recently. With all of its texture and malleability, pasta can be styled in myriad ways, but Manna doesn’t arrange it. He leaves the styling to the chefs and food stylists, and they leave the photographing to him.
Manna’s photographic career has spanned over 30 years from photography, from photo clubs in high school and college to a 15-year stay at the New York Times to the food photography he’s known for now. After transitioning from film, Manna shot mainly with Olympus cameras before moving to a Canon 6D and 60D in recent years.